Crying on a Friday

Lost my mind today, pain in the way,
feeling very strained
They won't say what they're supposed to say, I swear it's not okay,
cold in my veins
Attention they don't seem to pay, boiling in my brain,
tears falling like rain
Crying on a Friday
Depression in the workplace, keeping a fake face,
trying to win the race
Crying on a Friday
Not feeling very sane, leaning on my pride like a cane,
can't explain
Why the days of weeks always drain my energy so quickly,
hard to contain
I can't even stay in the lane, feeling smaller than a sand grain,
smaller than a sand grain
Crying on a Friday
Depression in the workplace, keeping a fake face,
trying to win the race
Crying on a Friday
Of all the times I feel like this right now, feel like falling down,
always maintaining a frown
It's supposed to be better after work,
how can I feel better knowing I can't pay the bills, my ground
Is unsteady, while heavily, pressing down on every belief while
I drive around town feeling like a king that's lost his crown
Crying on a Friday
Depression in the workplace, keeping a fake face,
never winning the race
Crying on a Friday

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Editor’s Note

The number one question our editors receive is—what do the editors and judges look for when judging the contest? The number one answer we give is creativity. Unlike prose, writing composed in everyday language, poetry is considered a creative art and requires a different type of effort and a certain level of depth. Of the thousands of poems entered in each contest, the ones that catch our judges’ eyes are the ones that remove us, even just slightly, from the scope of everyday life by using language that is interesting, specific, vivid, obscure, compelling, figurative, and so on. Oftentimes, poems are pulled aside for a second look based simply on certain words that intrigued the reader. So first and foremost, be sure your poetry is written using creative language. Take general ideas and make them personal. In his infamous book De/Compositions: 101 Good Poems Gone Wrong, W. D. Snodgrass imparts, “We cannot honestly discuss or represent our lives, any more than our poems, without using ideational language.”